THE VICE-DEVICE

-15%
THE VICE-DEVICE

Iago and Lear's Fool as Agents of Representational Crisis

Papers in English & American Studies; 19.

Szerző: Matuska Ágnes

JATE Press, 2011

2 835 Ft
Akció: 2 410 Ft
Kezdete: 2017.06.12   A készlet erejéig!
Kedvencekhez
Ajánlom
Nyomtat
Összehasonlítás
Részletek
Ajánlatunk Önnek!
Adatok
Vélemények
Részletek
A kötet adatai:
Kötés: Puhakötés
Megjelenés éve: 2011
Terjedelem: 180 oldal

Tartalomjegyzék:

CONTENTS

ACKNOWLEDGEMENTS

FOREWORD

INTRODUCTION

SHAKESPEARE’S DIALECTICAL TRAGEDY AND THE CRUMBLING CODE OF REPRESENTATION
1.1 The question of epistemological crisis
1.2 Dialectical Tragedy: epistemic change in theatre
1.3 „If a code is crumbling…”
1.4 Representational crisis in Shakespeare

HAPHAZARDLY AMBIDEXTROUS: THE VICE-FAMILY
2.1 Problems of definition
„You will learn to playe the vice”: problems of interpretation
2.2 Vices
Merry Report
Ambidexter
Haphazard
Punisher or punished?
The Fool in the Vice
2.3 Vice-successors and Fools
Intriguer villains
Sir John Falstaff. The Vice-Fool
The „corrupter of words”: Feste
Deceiver among deceivers: Parolles
Afterlife of post-vices and the common life of Iago and the Fool
2.4 The Vice-clown on the Shakespearean stage

METADRAMA
3.1 Metadrama and the Vice. A definition of the term
3.1.1 The Vice as mediator
3.1.2 Metadrama in Shakespeare-criticism
3.2 Meaning as an event – iago and Metadrama in Othello
3.2.1 Commenting on drama, involving the audience
3.2.2 Iago’s book of identity and role-playing
3.2.3 Plays within – Iago as director
3.2.4 Representation as fiction
3.2.5 Iago’s metadramatic effect–summary
3.3 Metadramatic aspects of the Fool
3.3.1 The Fool and his audience
3.3.2 „All thy other titles”
3.3.3 Plays of the fool within and without
3.3.4 „The mistery of things”: fiction as reality
3.3.5 Metadrama of the Fool - summary
3.4 Metadrama: conclusion

LAUGHTER AND COMEDY
4.1 Carnival and subversion in the comedy of the Vice, Iago and the Fool
4.1.1 Elements of Vice-comedy in Iago and the Fool
4.1.2 Bakhtinian carnival laughter
4.1.3 Types of laughter in Medieval drama 4.1.4 Bakhtinian carnival and laughter in Shakespeare
4.2 The comedy of the Fool
4.2.1 Levelling
4.2.2 A pretty reason: the sense-nonsense game
4.2.3 generating extra perspectives: the Fool’s way of recontextualization
4.2.4 The Fool’s final score
4.3 The comedy of Iago
4.3.1 Iagos’s sense of humour dislodged
4.3.2 irony and the question of the absurd
4.3.3 Decontextualisation
4.3.4 Iago’s sense of humour – conclusion
4.4 Two comedians: alike, but different
4.4.1 The similarities betveen the comedy of Iago and the Fool
4.4.2 The differences in the comedy of Iago and the Fool
4.4.3. Iago as the missing fool

KING LEAR AND OTHELLO AS CONTEXTS OF PLAYING
5.1 Meaning and identity in King Lear
5.1.1 The king who stopped playing
The dance of Death and the Fool
5.1.2 „the tyranny of the open night”: The end and beyond
5.2 Social structure and meaning in Othello
5.2.1 „Past thought!”: Society and its „Others”
5.2.2 The denial of folly
5.3 Moral corruption, amoral presence, or authenticity?
5.4 „Tarry, take the Fool with thee”: On problems with Shakespeare, Derridean spectacles and theatre
5.4.1 Is language enough?
5.4.2 The Iconoclasts’ Scourge

CONCLUSION

BIBLIOGRAPHY

INDEX OF PLAYS AND CHARACTERS
Ajánlatunk Önnek!
Adatok
ISBN
978-963-315-044-3
VTSZ
4 901
Vélemények
Legyen Ön az első, aki véleményt ír!
Webáruház készítés
shopmania.hu arfalo.hu aprohirdetesingyen.hu arumagazin.hu vatera.hu